A lot of them [Germaqn actors] could come in and we could speak for the next nine hours in English and there would be no problem. It was - but it was - English wasn't the language for them to read poetry in. And there is a - there's a poetic quality to my dialogue.

I dropped out in middle school. I dropped out in, towards the beginning of the ninth grade. And then I started studying -I started taking acting classes at a, well first I was like in a community theater at that time in Torrance, California, so I finished up like my season with that community theater just acting in, you know, acting in a small part on this play or a big part on that play or a stage manager or assistant stage manager in another play.

When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it.

When I'm writing in my bedroom, in a bar, at my kitchen table or wherever, I'm conjuring it all up on the page. That's all well and good, but it is going to be a limited perspective at that point and time. Occasionally, what I write might read really well initially, but then you change your mind while hunting for locations when you discover settings which offer even better opportunities for drama or dramatic staging.

Emotion will always win over coolness and cleverness. It's when a scene works emotionally and it's cool and clever, then it's great. That's what you want.

I will never do Pulp [Fiction] 2 but having said that, I could very well do other movies with these characters.

ou know, if you want to see jackbooting Nazis in movies, you've got to watch American movies made at that time.